Return-path: Received: from kis (dmn1206.dmn.com.au [203.62.199.206]) by yevette.dmn.com.au (Rockliffe SMTPRA 4.5.4) with SMTP id for ; Wed, 7 Nov 2001 08:21:24 +0000 Message-ID: <000b01c16722$ef5d4260$cec73ecb@kis> From: "K.I.S. Newsletter" To: Subject: K.I.S Newsletter November.html Date: Wed, 7 Nov 2001 08:26:59 +0800 MIME-Version: 1.0 Content-Type: multipart/related; type="multipart/alternative"; boundary="----=_NextPart_000_0007_01C16765.F8126F00" X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 5.00.3018.1300 X-MimeOLE: Produced By Microsoft MimeOLE V5.00.3018.1300 This is a multi-part message in MIME format. ------=_NextPart_000_0007_01C16765.F8126F00 Content-Type: multipart/alternative; boundary="----=_NextPart_001_0008_01C16765.F8126F00" ------=_NextPart_001_0008_01C16765.F8126F00 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable K.I.S Newsletter November =20 =20 =20 Volume 2, Issue 5. November 2001=20 Welcome to the November 2001 issue of K. I. S.=20 (The newsletter for Keen Independent Songwriters)=20 Hello everyone! After a brief interlude, K.I.S. is back! This E-zine has been = sent to you in html format. For those of you who like to see the whole = page (rather than using scroll bars to view your email), just CLICK HERE = and use your web browser to read it. Remember too, that by pressing the = 'F11' button you can also get a full screen version.=20 Hope that providence has treated you well, your muses have been = kind to you and that you find the information in this issue useful. =20 Best regards Connie Kis PS: If you know others who might be interested in receiving this = newsletter, please feel free to forward this on and get them to = 'subscribe' by clicking on the link below.=20 Subscribe ________________________=20 =20 =20 NB: I apologise sincerely to anyone who has received this = newsletter in error, or more than once. (Please let me know if you are = receiving multiple issues and through which addresses). To be removed = from the mailing list, just scroll to the end and follow the = instructions.=20 Don't forget to indicate which addresses you wish to have removed = if you use more than one!=20 =20 =20 = _________________________________________________________________________= _______=20 =20 =20 CONTENTS=20 In this issue...=20 1. Songwriting tips - by Molly Ann Leikin=20 a.. Stimulating Creativity - excerpts from Chapter 7 of the = Book, 'How to write Hit Songs' (now in its 4th edition with a new = chapter on songwriting and the internet)=20 2. Featured CD=20 a.. Key Moments - Stewart Dudley=20 3. Article =20 a.. FREYjA responds to July's featured article, 'Rewrites, are = we Done Yet?' by Kim Copeland=20 4. Networkers Niche & Newsworthy Notes=20 a.. Great American Songwriting Competition - last chance to = enter!=20 b.. Australian Music Biz changes address=20 c.. Songwriter requests help=20 d.. Notice from Danny Arena & Sarah Light=20 e.. Websites=20 a.. Artists=20 a.. Gus McKay=20 b.. Carmel Morris=20 c.. White Diamond=20 b.. New=20 a.. John Braheny=20 4. Resources on the Net =20 a.. Resource Websites of interest to Songriters and = Independent Artists. =20 6. Local Happenings in Australia=20 a.. Report on the 5th National Entertainment Industry = Conference=20 b.. International Performing Arts Conference - Sydney 2002=20 _________________________________ =20 =20 =20 PREVIOUS ISSUES: View the ARCHIVES for earlier issues of K.I.S.=20 =20 =20 = _________________________________________________________________________= _______=20 =20 =20 SONGWRITING TIPS=20 Topic for November 2001: STIMULATING CREATIVITY=20 =20 =20 The following is an excerpt from the book;=20 'HOW TO WRITE A HIT SONG' =20 by hit Songwriter and Songwriting Consultant, Molly-Ann Leikin. =A9 1987 Molly-Ann Leikin. Published by Hal Leonard Corporation. = Revised, 1989, 1994, 2001=20 Reproduced with kind permission by the author. =20 =20 =20 Chapter 7. STIMULATING CREATIVITY Some of us are lucky. We have so many sparkling, exciting, fresh = ideas, we'll never run out. But others may find from time to time in = their creative lives that they're going a little dry. If you find = you've been writing the same thing sideways in your last several songs = and your melodies are all starting to sound alike, it's natural to feel = nervous and a little frightened for your creativity. You swear you're = doomed to spend the rest of your life wistfully remembering the = exhilarating days of fire and thunder when you were getting great ideas = and writing hits. But you can do something about it. You don't have to play victim = to your muse. You can be inspired by another one. Here are some = exercises that my successful clients and I have done when we're feeling = dull, sluggish and unable to squeeze anything memorable from the air. First, you should recognize that the creative process is cyclical. = While your subconscious never stops working, your conscious mind does = need a day off now and then. Use this time to gather new experiences = instead of staying home, groaning and beating yourself up. Get out of your house or office or wherever it is you usually = write. Close the door to that area, both figuratively and literally. = Head for a place you've never been. I usually go to the same restaurant = for breakfast every day. But when I'm stuck and feeling stale, I change = my pattern. Instead of wearing my comfortable old sweatsuit and meeting = people I already know, I put on eyeliner and my best new clothes and go = someplace where I don't know anyone. In a foreign environment I see new = things. I feel new things, hear new things, smell new things. Instead of = having my usual peppermint tea, I might have a caf=E9 au lait or = espresso. My taste buds are treated to new experiences. Eavesdrop. If people are talking about the stock market, don't = ignore them, thinking your songs are about love, not economics. Listen = to what's being said said even if you're way over your Master Charge = limit and your checks are bouncing. If nothing else, you'll learn = something, hear some vocabulary you normally don't use or think to use = in love songs. Your brain will store these words and phrases. I = believe that for every new idea our brains receive, a little red neon = sign flashes in the gray cells that says "interesting, stimulating, give = me more." And the devoted librarians at the conservatories of music in = our minds file it all away in the appropriate departments. Strike up a conversation with a stranger. Make up a new identity. = Tell your breakfast partner you're a pediatrician or a test pilot or = the social secretary for the governor's wife. Become that person for = twenty minutes. Don't worry if you blow it. This is a game. It's = supposed to be fun. But whatever you do, don't sit there and pour out = your heart to a stranger about how stuck you are. The point of this = exercise is to give yourself some time off from your problem, not to = compound it. Go to a museum. Force yourself to look at works of art you might = have avoided during earlier visits. You might not like Byzantine art, = but check it out anyway. Not long ago I was feeling as creative as a = soggy mop. I went to see the French Impressionist exhibit from the = Hermitage and Pushkin museums in Russia. Not only was I totally = delighted by the art, which is from my absolutely favorite period, but = also I stumbled onto a Lalique exhibit I didn't even know existed. = I left, my mind dancing with ideas, raced home and worked until midnight = when my back quit. So if your brain has been running on empty, realize it needs = input. Give it what it wants. You don't know how it'll assimilate that = information or use it later on. As a sensitive writer, you're like a = vacuum cleaner. Your job is to absorb new experiences so you feel = alive, enthusiastic, excited, interested and stimulated. Go into a store you've never been in. Look at merchandise you'd = never consider buying, which might be aluminum siding or the Hope = diamond. Listen to the salespeople talk. They're funny. They don't = need to know you're there with a secret motive. You may not need a new = Ferrari just yet. Go into the showroom anyway. Act as if you're a = serious buyer. Observe everything, including the other customers. = Check out the sales pitch. See about financing. See if they'll take = cash. Check their responses. This is your persona. You can handle it = any way you want. A successful stimulant that works for me is going to a different = supermarket. At my regular market, I know where everything is. In = fact, I could probably go through the place blindfolded and still find = the peppermints and p=E2t=E9. But when I go to a different market, I = don't know where anything is. I might get mad and be tempted to walk = out. But the discomfort of being in a strange environment is actually = very stimulating. Once, I was in an unfamiliar market and was fuming = because the checkout person was on 33 1/3 rpms and I was on 78. But = while I waited, I saw a guy with a walkie-talkie and a calculator. His = children had a food list, as well as walkie-talkies, and they were = calling in prices from other aisles. He'd enter that price on his = calculator to see if they could afford that item in their weekly food = budget. And they were talking like truckers =97 using all that = "ten-four" jargon. I loved it. I didn't care that it took forty-five minutes to = purchase one pint of low-fat milk. The experience was worth it. It = gave me tons of ideas. While I haven't actually used a man with a = walkie-talkie and a calculator in a supermarket in any of my work just = yet, that's okay. I was distracted, amused and entertained. The = experience was rich and will always be with me. CHANGE THE MENU Speaking of supermarkets, I think we all tend to buy the same food = items from week to week. So buy a couple of new items =97 things you've = never tried. If that's too big a step, let me suggest you simply try a = new brand. I know the tendency is to go with the familiar and the = comfortable. But this exercise is meant to jostle you up a little, to = take some risks and to have some new experiences as a result. We do have our principles. No matter how stuck I am, I'd never = buy anything other than Heinz ketchup in the squeeze bottle. Period. = But I'm willing to bend in the fruit juice section. Why just a while = ago I bought Minute Maid apple juice =97 at a substantial saving, I = might add =97 instead of my usual Motts. It felt weird. I wondered if = my metabolism would change from the new taste and I'd suddenly become = tall and willowy. But see, here I was thinking about that instead of my = poor, doomed song. So the exercise worked. To read the rest of this chapter and for specific exercises to = stimulate creativity CLICK HERE. _________________________________ ABOUT MOLLY-ANN LEIKIN; =20 Molly-Ann Leikin is a songwriting consultant and a multi-award = winning songwriter, with two gold records, four ASCAP Country Music = Awards and an Emmy nomination being just some of her credits. Her two = books, 'How to Write a Hit Song' (recently revised with an additional = new chapter on songwriting and the internet) and 'How to Make a Good = Song a Hit Song' are availble directly through her at;=20 a.. Songwriting Consultants Ltd 2118 Wilshire Blvd. #882, Santa = Monica, CA 90403. =20 b.. or ... visit her publisher HAL LEONARD CORPORATION to find = out nearest book retailer who stocks it,=20 c.. or ... place an order through Hal Leonard Corporation by = phone on toll free 800 - 637 - 2852=20 d.. or ... order through Amazon.com. =20 She has also produced three audio books that you can purchase = through most of the above addresses. The cassette titles are:=20 a.. Success Strategies for Songwriters=20 b.. The Songwriters' Success Series=20 c.. How to write a Hit Song and Live to Hear it on The Air = Molly-Ann also writes regular columns that are well worth reading. = You can find them at; =20 Creative Control and Success Strategies for Songwritiers=20 =20 =20 =20 _________________________________=20 =20 =20 Interested in more songwriting tips?=20 Visit the SONGWRITING TIPS - ARCHIVES page at Kismana Music for = more tips. =20 =20 =20 = _________________________________________________________________________= _______=20 =20 =20 =20 =20 = _________________________________________________________________________= _______=20 =20 =20 FEATURED CD=20 =20 =20 Title: Stewart Dudley, KEY MOMENTS=20 DESCRIPTION: The ABC writes; "In Stewart Dudley we have a musician = with both an astonishing mastery of his instrument and a truly inspired = and moving insight into the human soul and spirit". Key Moments = overflows with Stewart's sensitive, original instrumentals. This is = music to soothe the soul and uplift the spirit. An accomplished = musician, Stewart has won several awards for his compositions and his = classical background is evident in his touch. A perfect album for = anyone wanting to chill out and relax. =20 =20 =20 Hear an MP3 sample from Key Moments and...Check out the Kismana = Ko-Op Catalogue for samples from other independent artists by... = CLICKING HERE=20 =20 =20 _________________________________=20 =20 =20 KISMANA KO-OP=20 Please note: If you are interested on joining the Kismana Ko-Op (a = co-operative of Independent Australian Artists) and have a quality = product that you feel would be suitable, please feel free to contact = me for details.=20 =20 =20 = _________________________________________________________________________= _______=20 =20 =20 =20 =20 = _________________________________________________________________________= _______=20 =20 =20 Rebecca Rennie of FREYjA writes her response to the article; "Re-writes =96 are we done yet?" by Kim Copeland. =20 An audience must care=85 "Does a song fully & clearly express the intended idea or message = in a way that will make an audience care about the idea or message?"=20 Very interesting point. As long as credibility in the mainstream = commercial market (which ultimately, tends to determine commercial radio = play, promotion, fiscal return) demands hits from us, as artists, we = find ourselves in a creative bind. Many artists have always upheld that they do not create (in this = case, write songs) with a hopeful hit in mind. They often (perhaps = mistakenly) communicate this, to those who demand justification (record = company 'cullers' etc) by saying something along the lines of - when = they write a song, it is not with an audience in mind; that this would = compromise the quality of their art. As an artist, their work stems from = an inspired moment of emotional vulnerability which in turn sources its = expression from a mysterious universal 'bucket' of 'muses'; that this is = where the subconscious draws its creative power from & to bring the = end-game (ie. the audience) into consideration at such a juncture is to = corrupt the purity of one's art. For me personally, as a poet & songwriter, this is the only = starting point from which I can write, but it is only a starting point. The problem with this common response? Although it keeps artistic = integrity in tact =96 in the longrun, it is a na=EFve & precious = attitude at best & an utterly impractical ideal to hang onto. This is = why I found Kim's first main point on re-writes so significant. It is = during the re-writes, when one must bring exterior goals into play, that = the artist has to let go, to a degree, of the emotional attachment to a = song. It is in the completion of the songs that a broader perspective = must be considered.=20 What we tend to forget, is that ultimately, we DO want out songs = to be heard & we DO secretly hope that they will be 'appreciated', we DO = HAVE an inert yearning to share our voice with humanity & if we make = songwriting a predominant part of our income (God help us!) then it = really DOES, in fact, matter how others respond. Now I come to Kim's article. That we ultimately hope that "an = audience care". What a marvellous way of articulating this very concept = I have long found challenging to understand, to put my finger on in = words. I have never quite been able to express the missing link between = that mysterious moment a new song purrs out of me to the 'final'moment I = bring that song to an audience. I have never quite been able to express = a reason why one re-write may work & another not - & I feel that Kim = hits the nail right on the head here. Kim delineates the difference between : caring what an audience thinks of a song=20 & thinking about how an audience cares Two very different matters, the latter of which, certainly DOES = MATTER. Does the audience share the emotion? I have done many interviews as of late & I am constantly telling = people that this point is really what my career in music is about =96 = sharing the experiences of humanity's common yearnings, melancholies, = the mysteries of existence, loss. These are all feelings that we share. = Not everyone is lucky enough to be blessed with the technique, = talent or opportunity for self-expression. I believe as artists = (songwriters), that we have a responsibility to use our gifts for the = purpose of healing the audience. Artists are the every-layperson's = soul-doctors, (as are priests in a religious context). Exchanging emotional energy Yes indeed. This is exactly what songwriting (& all art, as far as = I am concerned) ought to be striving to do with an audience.=20 Furthermore, did you ever notice that the word emotion is, in = fact, e (shorthand for 'energy' in science) + motion. So moving energy, = energy exchanged! indeed! Try to step out of your role =85 become a member of the audience This is possibly the most challening step of all for both = recording artist & songwriter. Objectivity is difficult to achieve when = one has been on the long creative journey=85naturally one ends up inside = the work. If there were a trick to stepping outside, when needed, I = would be happy to hear it. "Closing your eyes=85listening for the first = time=85do you understand & believe the emotion". These are good starting = points offered by Kim. Anyone got any more clues? ( see below*, I have a = good one!) Each album I record is bound to be an improvement on the one = before. My first CD self-titled "FREYjA"- after many years, I can = finally step outside it. & I certainly do believe the emotion in my = writing but it is not until my second CD "The Siren's Odyssey" that a = begin to believe the emotion in my voice. This is bound to develop = further & improve with each recording. I look forward to using some of = these techniques Kim has opened up for me. * One final point from me. Decide who your art (your songs) once = created, really belong to. An extremely talented singer/ songwriter/ guitarist/ philosopher, = whom I believe could be the voice of Australian folk music, Murray Wall = from Maleny; we used to collaborate as song-writers & he always said to = me that once the song was written, it did not belong to me any longer. = He implied in this that I was only a channel for the universe (or God if = you believe) to express itself through me & that I had to let go of the = song once it was written. I have always found this image, that the songs = (the art) that comes THROUGH us is not ours. It belongs to humanity. = It belongs to The Mysteries. This is one very useful technique=85if you = believe it to be true=85for learning to step outside your work. About Rebecca: Not only is Rebecca Rennie a graduate of NIDA, she is also a = pianist/ poet/ songwriter. Whilst working in Southern Ecuador, in a = little town at the foot of the Andes on the Peruvian border, Rebecca was = inspired to pen her first album. She came back to Australia to form her = original band, FREYjA & has since performed her songs in New York, = London, Germany. Visit FREYjA The Viking Goddess of Love & Night and = hear her new release; 'The Siren's Odessy'. She is currently based in = Japan.=20 =20 =20 = _________________________________________________________________________= _________=20 =20 =20 =20 =20 = _________________________________________________________________________= _________=20 =20 =20 NETWORKERS' NICHE & NEWSWORTHY NOTES=20 If you want to make contact with other people in the industry = and/or put a message relating to music and songwriting in this section, = please contact me at: subscribetokis@dmn.com.au=20 (Please remember that if necessary, we have the right to vet as = well edit these messages and that the philosophy of these sites/artists = does not necessarily reflect that of K.I.S.!)=20 =20 =20 _________________________________=20 =20 =20 GREAT AMERICAN SONG CONTEST - Attention all songwriters, composers, = bands, artists, lyricists - last chance to enter! Entries accepted if = post marked November 14, latest.=20 The Great American Song Contest is a highly recommended = songwriting event sponsored annually by Songwriters Resource Network, a = free online news and information resource for songwriters and lyricists = everywhere.=20 Contest HIGHLIGHTS include; More winners - More Awards! Top = Music Industry Judges! Low entry fees.=20 Win a grand prize of over US $50,000 in cash & merchandise. = Winners' will be determined by top Music Industry Professionals. Enter = in 15 different categories - pop, rock, R&B and many more... Open to = all, regardless of nationality.=20 Judges include Walt Disney Music Publishing, Sony Music, Tommy Boy = Records, Warner/Reprise etc. =20 =20 Visit http://www.GreatAmericanSong.com for more details. _________________________________ OTHER INTERNATIONAL SONG CONTESTS: = Visit out = the International Songwriters' Association (ISA) by CLICKING HERE for = details and information. _________________________________=20 =20 =20 Australian Music Biz changes address Hi, Just a quick note to let you know that Australian Music Biz = has moved to a bigger office and has new contact details listed below. = E-mail and mobile (0412 321 368) stays the same, however there is a new = phone number and postal address. The address will be redirected for a = short time, but please update your records. Cheers, Stephen Australian Music Biz PO Box 30 Chermside South Qld 4032 Ph: +61 7 3861 4534; Web Address: www.ausmusicbiz.com _______________________________________________ Songwriter requests help: = = Hi, I am looking for somewhere to send my songs I have = written. Maybe for singers/groups etc. = Thanks, Anita Kavalinovich. Email: akavalinovich@hotmail.com=20 _______________________________________________ Notice from Danny Arena & Sara Light: Hi everyone, Hope everyone is well. We just wanted to let you know about a = couple items that may be of interest to you. 1) I know we keep saying this :-), but we are indeed making great = progress on our online songwriting courses. We now have several of our = songwriting educator friends also developing courses for this new site = and we hope to have it up and running SOON. Sorry it's taking so long, = but we want to develop something that will be extremely helpful and cool = for everyone.=20 If you have ideas of subjects you'd like to see included in our = online courses, please email us those suggestions. 2) The following seminar might be of interest to you: The Soul of = a Writer - LIVE, A Songwriters Seminar Hosted by Susan Tucker, Author of = The Soul of a Writer, Intimate Interviews With Successful Songwriters. = November 10 - Music Row Area, Nashville, Tennessee. =20 For more information or to sign up, visit = www.journeypublishing.com or call (US) 1- 800- 776- 4231 Access Code 11 Best wishes, Danny Arena/Sara Light The Songwriting Education Resource www.craftofsongwriting.com=20 _______________________________________________ WEB SITES=20 New Sites:=20 a.. JOHN BRAHENY - For music creators and information on the = Craft and Business of Songwriting - John is currently doing a seminar = tour of US cities. Check his site for details.=20 Artist Sites:=20 a.. GUS McKAY - For grass roots country, folk and alternative = blues=20 b.. CARMEL MORRIS - Talented musician composer, author & 3D = artist=20 c.. WHITE DIAMOND - For their story and experience with the = music industry=20 =20 =20 =20 = _________________________________________________________________________= _________=20 =20 =20 =20 =20 = _________________________________________________________________________= _________=20 =20 =20 RESOURCES ON THE NET=20 a.. JOHN BRAHENY - For music creators and information on the = Craft and Business of Songwriting=20 b.. THE BUZZ FACTOR - a resource site for Independent Artists. = Heaps of useful information=20 c.. GAJOOB - Music making resource and review=20 d.. HARMONY CENTRAL - A great resource for musicians=20 e.. HIT QUARTERS - Where the music business starts - the = definitive database of music info=20 f.. THE INDIE CONTACT BIBLE - Promote your music to the world=20 g.. INDIECORNER.COM - Artist promotion and development site=20 h.. INDIEFIND.COM - The Indie Music Directory, music's virtual = Yellow Pages.=20 i.. THE INDIE LINK EXCHANGE - Free and easy promotion of your = Website =20 j.. INDIE WEB - For independent Music Enthusiasts=20 k.. JUST PLAIN FOLKS -Songwriting, Musician Networking = Organisation=20 l.. THE MUSE'S MUSE - Songwriting tips and tools, database of = resources. Another 'must visit'=20 m.. PAT PATTISON'S Lyric Pages - 'Writing Better Lyrics', = Rhyming Strategies' & 'Managing Lyric Structure'=20 n.. SONGWRITERS' CONNECTION (THE) - Essential information and = learning tools for Songwriters=20 o.. SONGWRITING CONSULTANTS LTD - Evaluations, Custom designed = courses to develop songwriting skills=20 p.. SONGWRITING EDUCATION Resource =96 invaluable information by = Danny Arena and Sara Light=20 q.. SONGWRITING RESOURCE - Pat & Pete Luboff's extensive links=20 r.. SONGWRITERS RESOURCE NETWORK - Information and Services for = Songwriters and Lyricists.=20 ______________________________________________________=20 =20 =20 For more useful resources check out the LINKS page at Kismana Music = =20 =20 = _________________________________________________________________________= _________=20 =20 =20 =20 =20 = _________________________________________________________________________= _________=20 =20 =20 LOCAL HAPPENINGS - AUSTRALIA=20 =20 =20 5th NATIONAL ENTERTAINMENT INDUSTRY CONFERENCE REPORT=20 A conference on the The Technology Art & Business of Music was = held on August 2, 3 & 4 2001 at Sydney SuperDome Music industry publisher and conference producer IMMEDIA! combined = a three day music and entertainment industry conference in Sydney. The = final day's proceedings was followed by the third annual Australian = Online Music Awards (ONYA! Awards) that was webcast globally. The conference featured over 50 Australian and overseas speakers = and was a combination and extension of IMMEDIA!'s previous successful = events - The National Entertainment Industry Conference (held in odd = years) and the Music & Entertainment Media Online Conference which = debuted in August 2000. To read my report summarising the conference CLICK HERE _________________________________=20 =20 =20 Australian College of Entertainment's International Performing Arts = Conference is being held in Sydney Australia, July 14 to 21, 2002 We are inviting you and your students to be part of this exciting = international event in Sydney Australia Website: = http://ace.org.au/ace/conference2002 The conference is open to dance, acting & vocal students from 10 = years to 21 years of age. Students can enrol individually or as part of = a group from a school, college or private coach. ACE International Performing Arts Conference Sydney 2002 brings = together the finest young performers (10 to 21 years) from all over the = world to exchange ideas and share their love of=20 performance - on and off the stage.=20 We gather Top Professionals and Master Teachers from the = Entertainment Industry and Arts Community to share their time and = expertise.=20 Our goal is to pack a week with the perfect combination of = learning, performing, opportunities to share with other students from = around the world, fun and sightseeing.=20 Class emphasis will be on performance and will integrate - Dance = (Flamenco, Jazz, Tap, Ballet, Contemporary, Lyrical & Funk), Acting, = Singing, Choreography, Auditioning, Modelling, Acrobatics, Musical = Theatre, Television, Film, Musicology, Make-up and the production = aspects that make them work. Our staff will manage all the accommodation, transfers, meals, = tickets and schedules. Meals will begin at dinner on Sunday night and = conclude at the following Sunday morning breakfast.=20 Parents are welcome as observers and an exciting program of events = will be availablefor non-performers as well as eachers / Directors. We = take care of all the details so you and=20 your Students / Children can concentrate on learning, performing=20 and having a great time!=20 =20 =20 =20 = _________________________________________________________________________= _________=20 =20 =20 CONTRIBUTIONS=20 Finally, if you would like to contribute to this newsletter by = writing an article, please feel free to contact me.=20 Thanks all and until next time...keep writing!=20 Regards=20 Connie Kis=20 = _________________________________________________________________________= ________ If anyone receiving a forwarded copy of this newsletter is = interested in future newsletters, please subscribe by clicking on the = following link and typing 'subscribe' in the message box:=20 subscribetokis@dmn.com.au=20 PRIVACY POLICY:=20 I will never abuse the privilege of having you as a subscriber. I = will not give out your email address to anyone unless I first seek and = gain permission from you.=20 = _________________________________________________________________________= ________ Kismana Music Supporting Songwriters and Independent Artists.=20 Web Site: http://www.kismana.com.au=20 for Songwriting Resources, CD releases from Independent Australian = Artists and MP3 samples of their work.=20 = _________________________________________________________________________= ________ PO Box 1254 Bentley DC 6983 Western Australia=20 Ph/Fax: + 61 - 8 - 9367 9340=20 Email: info@kismana.com.au=20 = _________________________________________________________________________= ________ If you don't wish to be sent any future newsletters, please just = click on the link below with 'remove' in the subject box. Thank you.=20 PLEASE also indicate which email address/es you wish to have = removed!=20 removefromkis@dmn.com.au=20 =20 =20 =20 TOP KISMANA MUSIC DIRECTORY ABOUT US PRODUCTS SERVICES = SONGWRITING TIPS SONG CATALOG NEWSLETTER ARCHIVES SONGWRITING TIPS = - ARCHIVES LINKS EMAIL =20 =20 =20 =20 =20 =20 ------=_NextPart_001_0008_01C16765.F8126F00 Content-Type: text/html; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable K.I.S Newsletter November
 
3D"K.I.S

Volume=20 2, Issue 5. November 2001

Welcome to the = November 2001=20 issue of K. I. S.

(The newsletter for=20 Keen=20 Independent=20 Songwriters)

Hello everyone!

After a brief interlude, = K.I.S. is = back! =20 This E-zine has been sent to you in html format.  For those = of you=20 who like to see the whole page (rather than using scroll bars to = view your=20 email), just CLICK = HERE and = use your=20 web browser to read it.  Remember too, that by pressing the = 'F11'=20 button you can also get a full screen version.

Hope that providence has treated you well, your muses have been = kind to=20 you and that you find the information in this issue useful.  =

Best regards

Connie Kis

PS: If you=20 know others who might be interested in receiving this newsletter, = please=20 feel free to forward this on and get them to 'subscribe' by = clicking on=20 the link below.

Subscribe

________________________=20

NB: I apologise sincerely to anyone who has received = this=20 newsletter in error, or more than once.   (Please let me = know if=20 you are receiving multiple issues and through which=20 addresses).   = To be=20 removed from the mailing list, just scroll to the = end and follow=20 the instructions.

Don't forget = to indicate=20 which addresses you wish to have removed if you use more than=20 one!=20

_____________________________________________________________________= ___________=20

CONTENTS

In this = issue...

1.  Songwriting=20 tips - by Molly Ann Leikin=20

  • Stimulating Creativity - excerpts from Chapter = 7 of the=20 Book, 'How to write Hit=20 Songs' (now in its = 4th edition=20 with a new chapter on songwriting and the internet)

2.  Featured=20 CD=20

  • Key Moments -=20 Stewart Dudley

3.  Article =20

  • FREYjA responds to July's featured article, 'Rewrites, are = we Done=20 Yet?' by Kim Copeland

4.  Networkers Niche & = Newsworthy=20 Notes=20

      • Great American Songwriting Competition - last chance to = enter!=20
      • Australian Music Biz changes address=20
      • Songwriter requests help=20
      • Notice from Danny Arena & Sarah Light=20
      • Websites=20
        • Artists=20
          • Gus McKay=20
          • Carmel Morris=20
          • White Diamond
        • New=20
          • John Braheny =

4.  Resources on = the=20 Net  =20

      • Resource Websites of interest to Songriters and = Independent=20 Artists. 

 

6.  Local Happenings in=20 Australia=20

      • Report on the 5th National Entertainment Industry = Conference=20
      • International Performing Arts Conference - Sydney 2002=20

_________________________________

 

PREVIOUS = ISSUES:  = View the=20 ARCHIVES for = earlier issues=20 of K.I.S.

_____________________________________________________________________= ___________=20

SONGWRITING TIPS

Topic for November = 2001:=20 STIMULATING CREATIVITY =

The=20 following is an excerpt from the book;

'HOW TO WRITE = A HIT=20 SONG' 

by hit Songwriter and = Songwriting=20 Consultant, Molly-Ann Leikin.

=A9 1987 Molly-Ann Leikin.  Published by = Hal Leonard=20 Corporation.  Revised, 1989, 1994, 2001

Reproduced with kind = permission=20 by the author.

 

Chapter=20 7.   STIMULATING CREATIVITY

Some of = us are=20 lucky.  We have so many sparkling, exciting, fresh ideas, = we'll never=20 run out.  But others may find from time to time in their = creative=20 lives that they're going a little dry.  If you find you've = been=20 writing the same thing sideways in your last several songs and = your=20 melodies are all starting to sound alike, it's natural to feel = nervous and=20 a little frightened for your creativity.  You swear you're = doomed to=20 spend the rest of your life wistfully remembering the exhilarating = days of=20 fire and thunder when you were getting great ideas and writing = hits.

But you can do something about it.  You don't have to play = victim=20 to your muse.  You can be inspired by another one.  Here = are=20 some exercises that my successful clients and I have done when = we're=20 feeling dull, sluggish and unable to squeeze anything memorable = from the=20 air.

First, you should = recognize that=20 the creative process is cyclical.  While your = subconscious=20 never stops working, your conscious mind does need a day off now = and=20 then.  Use this time to gather new experiences instead of = staying=20 home, groaning and beating yourself up.

Get=20 out of your house or office or wherever it is you = usually=20 write.  Close the door to that area, both figuratively and=20 literally.  Head for a place you've never been.  I = usually go to=20 the same restaurant for breakfast every day.  But when I'm = stuck and=20 feeling stale, I change my pattern. Instead of wearing my = comfortable old=20 sweatsuit and meeting people I already know, I put on eyeliner and = my best=20 new clothes and go someplace where I don't know anyone.  In a = foreign=20 environment I see new things.

I feel new things, hear new things, smell new things.  = Instead of=20 having my usual peppermint tea, I might have a caf=E9 au lait or=20 espresso.  My taste buds are treated to new experiences.

Eavesdrop.  If people are = talking=20 about the stock market, don't ignore them, thinking your songs are = about=20 love, not economics.  Listen to what's being said said even = if you're=20 way over your Master Charge limit and your checks are = bouncing.  If=20 nothing else, you'll learn something, hear some vocabulary you = normally=20 don't use or think to use in love songs.  Your brain will = store these=20 words and phrases.  I believe that for every new idea our = brains=20 receive, a little red neon sign flashes in the gray cells that = says=20 "interesting, stimulating, give me more."  And the devoted = librarians=20 at the conservatories of music in our minds file it all away in = the=20 appropriate departments.

Strike up a = conversation with a=20 stranger.  Make=20 up a new identity.  Tell your breakfast partner you're a = pediatrician=20 or a test pilot or the social secretary for the governor's wife. = Become=20 that person for twenty minutes.  Don't worry if you blow = it. =20 This is a game.  It's supposed to be fun. But whatever you = do, don't=20 sit there and pour out your heart to a stranger about how stuck = you are.=20 The point of this exercise is to give yourself some time off from = your=20 problem, not to compound it.

Go=20 to a museum. =20 Force yourself to look at works of art you might have avoided = during=20 earlier visits.  You might not like Byzantine art, but check = it out=20 anyway.  Not long ago I was feeling as creative as a soggy = mop. =20 I went to see the French Impressionist exhibit from the Hermitage = and=20 Pushkin museums in Russia.  Not only was I totally delighted = by the=20 art, which is from my absolutely favorite period, but also I = stumbled onto=20 a Lalique exhibit I didn't even know=20 existed.      I left, my mind dancing = with ideas,=20 raced home and worked until midnight when my back quit.

So if your brain has been running on empty, realize it needs=20 input.  Give it what it wants.  You don't know how it'll = assimilate that information or use it later on.  As a = sensitive=20 writer, you're like a vacuum cleaner.  Your job is to absorb = new=20 experiences so you feel alive, enthusiastic, excited, interested = and=20 stimulated.

Go=20 into a store you've never been in.   Look at = merchandise=20 you'd never consider buying, which might be aluminum siding or the = Hope=20 diamond.  Listen to the salespeople talk.  They're = funny. They=20 don't need to know you're there with a secret motive.  You = may not=20 need a new Ferrari just yet.  Go into the showroom = anyway.  Act=20 as if you're a serious buyer.  Observe everything, including = the=20 other customers.  Check out the sales pitch.  See about=20 financing.  See if they'll take cash.  Check their=20 responses.  This is your persona.  You can handle it any = way you=20 want.

A successful stimulant that works for me is going to a = different=20 supermarket.  At my regular market, I know where everything = is. =20 In fact, I could probably go through the place blindfolded and = still find=20 the peppermints and p=E2t=E9.  But when I go to a different = market, I=20 don't know where anything is.  I might get mad and be tempted = to walk=20 out.  But the discomfort of being in a strange environment is = actually very stimulating.  Once, I was in an unfamiliar = market and=20 was fuming because the checkout person was on 33 1/3 rpms and I = was on=20 78.  But while I waited, I saw a guy with a walkie-talkie and = a=20 calculator.  His children had a food list, as well as = walkie-talkies,=20 and they were calling in prices from other aisles.  He'd = enter that=20 price on his calculator to see if they could afford that item in = their=20 weekly food budget.  And they were talking like truckers =97 = using all=20 that "ten-four" jargon.

I loved it. I didn't care that it took forty-five minutes to = purchase=20 one pint of low-fat milk.  The experience was worth it.  = It gave=20 me tons of ideas.  While I haven't actually used a man with a = walkie-talkie and a calculator in a supermarket in any of my work = just=20 yet, that's okay.  I was distracted, amused and = entertained. =20 The experience was rich and will always be with me.

CHANGE THE MENU

Speaking of=20 supermarkets, I think we all tend to buy the same food items from = week to=20 week.  So buy a couple of new items =97 things you've never=20 tried.  If that's too big a step, let me suggest you simply = try a new=20 brand.  I know the tendency is to go with the familiar and = the=20 comfortable.  But this exercise is meant to jostle you up a = little,=20 to take some risks and to have some new experiences as a = result.

We do have our principles.  No matter how stuck I am, I'd = never=20 buy anything other than Heinz ketchup in the squeeze bottle.  = Period.  But I'm willing to bend in the fruit juice = section. =20 Why just a while ago I bought Minute Maid apple juice =97 at a = substantial=20 saving, I might add =97  instead of my usual Motts.  It = felt=20 weird.  I wondered if my metabolism would change from the new = taste=20 and I'd suddenly become tall and willowy.  But see, here I = was=20 thinking about that instead of my poor, doomed song.  So the = exercise=20 worked.

To read the rest of = this=20 chapter and for specific exercises to stimulate = creativity CLICK = HERE.

_________________________________

ABOUT MOLLY-ANN LEIKIN; 

Molly-Ann Leikin is a songwriting consultant and a = multi-award=20 winning songwriter, with two gold records, four ASCAP Country = Music Awards=20 and an Emmy nomination being just some of her credits. Her two = books, 'How=20 to Write a Hit Song' (recently revised with an additional new = chapter on=20 songwriting and the internet) and 'How to Make a Good Song a Hit = Song' are=20 availble directly through her at;=20

  • Songwriting Consultants = Ltd  = 2118=20 Wilshire Blvd. #882, Santa Monica, CA 90403.
     =20
  • or ... visit her publisher HAL=20 LEONARD CORPORATION  to=20 find out nearest book retailer who stocks it,=20
  • or ... place an order through Hal Leonard Corporation by = phone on=20 toll free 800 - 637 - 2852=20
  • or ... order through Amazon.com.  

She has also produced three audio books that you can purchase = through=20 most of the above addresses.  The cassette titles are:=20

        • Success Strategies for Songwriters=20
        • The Songwriters' Success Series=20
        • How to write a Hit Song and Live to Hear it on The Air =

Molly-Ann = also writes=20 regular columns that are well worth reading. You can find them = at; =20

Creative=20 Control and=20 Success=20 Strategies for Songwritiers

 

_________________________________=20

Interested in more = songwriting=20 tips?

Visit the SONGWRITING = TIPS  - =20 ARCHIVES  page at = Kismana=20 Music for more tips. 

_____________________________________________________________________= ___________=20

_____________________________________________________________________= ___________=20

FEATURED=20 CD

3DRichieP Title:=20 Stewart Dudley, KEY MOMENTS =
DESCRIPTION: The = ABC writes;=20 "In Stewart Dudley we have a musician with both an astonishing = mastery of=20 his instrument and a truly inspired and moving insight into the = human soul=20 and spirit".  Key Moments = overflows with=20 Stewart's sensitive, original instrumentals.  This is music = to soothe=20 the soul and uplift the spirit.  An accomplished = musician, =20 Stewart has won several awards for his compositions and his = classical=20 background is evident in his touch.    A perfect = album for=20 anyone wanting to chill out and relax. =20

Hear an MP3=20 sample from Key=20 Moments and...Check out the = Kismana = Ko-Op=20 Catalogue for samples from other independent artists by... = CLICKING=20 HERE

_________________________________=20

KISMANA KO-OP

Please note: If = you are=20 interested on joining the Kismana Ko-Op = (a co-operative of = Independent=20 Australian Artists) and have a quality product that you = feel would=20 be suitable, please feel free to   contact=20 me for = details.

_____________________________________________________________________= ___________=20

_____________________________________________________________________= ___________=20

Rebecca = Rennie of FREYjA=20 writes her response to the article;

"Re-writes =96 are = we done=20 yet?"  by Kim Copeland. 

An audience must = care=85

"Does a song fully & clearly express the intended idea or = message=20 in a way that will make an audience care about the idea or = message?"

Very=20 interesting point. As long as credibility in the mainstream = commercial=20 market (which ultimately, tends to determine commercial radio = play,=20 promotion, fiscal return) demands hits from us, as artists,  = we find=20 ourselves in a creative bind.

Many artists have always upheld that they do not create (in = this case,=20 write songs) with a hopeful hit in mind. They often = (perhaps=20 mistakenly) communicate this, to those who demand justification = (record=20 company 'cullers' etc) by saying something along the lines of - = when they=20 write a song, it is not with an audience in mind; that this = would=20 compromise the quality of their art. As an artist, their = work stems=20 from an inspired moment of emotional vulnerability which in turn = sources=20 its expression from a mysterious universal 'bucket' of 'muses'; = that this=20 is where the subconscious draws its creative power from & to = bring the=20 end-game (ie. the audience) into consideration at such a = juncture=20 is to corrupt the purity of one's art.

For me personally, as a poet & songwriter, this is the only = starting point from which I can write, but it is only a = starting=20 point.

The problem with this common response? Although it keeps = artistic=20 integrity in tact =96 in the longrun, it is a na=EFve & = precious attitude=20 at best & an utterly impractical ideal to hang onto. This is = why I=20 found Kim's first main point on re-writes so significant. = It is=20 during the re-writes, when one must bring exterior goals into = play, that=20 the artist has to let go, to a degree, of the emotional attachment = to a=20 song.  It is in the completion of the songs that a broader=20 perspective must be considered.

What we tend to forget, is that ultimately, we DO want out = songs to be=20 heard & we DO secretly hope that they will be 'appreciated', = we DO=20 HAVE  an inert yearning to share our voice with humanity = & if we=20 make songwriting a predominant part of our income (God help us!) = then it=20 really DOES, in fact, matter how others respond.

Now I come to Kim's article. That we ultimately hope that = "an = audience=20 care".  What a = marvellous way of=20 articulating this very concept I have long found challenging to=20 understand, to put my finger on in words.  I have never quite = been=20 able to express the missing link between that mysterious moment a = new song=20 purrs out of me to the 'final'moment I bring that song to an=20 audience.  I have never quite been able to express a reason = why one=20 re-write may work & another not - & I feel that Kim hits = the nail=20 right on the head here.

Kim delineates the difference between :

            caring what an audience thinks of a song

                  &

            thinking about how an audience = cares

Two very different matters, the latter of which, certainly DOES = MATTER.

Does the audience = share=20 the emotion?

I = have done=20 many interviews as of late & I am constantly telling people = that this=20 point is really what my career in music is about =96 = sharing the=20 experiences of humanity's common yearnings, melancholies, the = mysteries of=20 existence, loss.  These are all feelings that we = share.=20

Not everyone is lucky enough to be blessed with the technique, = talent=20 or opportunity for self-expression. I believe as artists = (songwriters),=20 that we have a responsibility to use our gifts for the purpose of = healing=20 the audience. Artists are the every-layperson's soul-doctors, (as = are=20 priests in a religious context).

Exchanging emotional = energy

Yes = indeed.=20 This is exactly what songwriting (& all art, as far as I am = concerned)=20 ought to be striving to do with an audience.

Furthermore, did you ever notice that the word emotion is, in = fact, e=20 (shorthand for 'energy' in science) + motion. So moving energy, = energy=20 exchanged! indeed!

Try to step out of = your role =85=20 become a member of the audience

This is=20 possibly the most challening step of all for both recording artist = &=20 songwriter. Objectivity is difficult to achieve when one has been = on the=20 long creative journey=85naturally one ends up inside the = work. If=20 there were a trick to stepping outside, when needed, I = would be=20 happy to hear it. "Closing your eyes=85listening for the first = time=85do=20 you understand & believe the emotion". These are good = starting=20 points offered by Kim. Anyone got any more clues? ( see below*, I = have a=20 good one!)

Each album I record is bound to be an improvement on the one=20 before.  My first CD self-titled "FREYjA"- after many years, = I can=20 finally step outside it. & I certainly do believe the = emotion=20 in my writing but it is not until my second CD "The Siren's = Odyssey" that a begin to = believe the=20 emotion in my voice. This is bound to develop further & = improve with=20 each recording. I look forward to using some of these techniques = Kim has=20 opened up for me.

* One final point from me.  Decide who your art (your = songs) once=20 created, really belong to.

An extremely talented singer/ songwriter/ guitarist/ = philosopher, whom=20 I believe could be the voice of Australian folk music, Murray Wall = from=20 Maleny; we used to collaborate as song-writers & he always = said to me=20 that once the song was written, it did not belong to me any = longer. He=20 implied in this that I was only a channel for the universe (or God = if you=20 believe) to express itself through me & that I  had to = let go of=20 the song once it was written. I have always found this image, that = the=20 songs (the art) that comes THROUGH us is not ours.  It = belongs to=20 humanity.  It belongs to The Mysteries.  This is one = very useful=20 technique=85if you believe it to be true=85for learning to step = outside=20 your work.

About Rebecca:

Not only is Rebecca Rennie a graduate of NIDA, she is = also a=20 pianist/ poet/ songwriter.  Whilst working in Southern = Ecuador, in a=20 little town at the foot of the Andes on the Peruvian border, = Rebecca was=20 inspired to pen her first album. She came back to Australia to = form her=20 original band, FREYjA & has since performed her songs in New = York,=20 London, Germany.  Visit  FREYjA The=20 Viking Goddess of Love & Night and hear=20 her new release; 'The Siren's Odessy'.  She is currently = based in=20 Japan.

_____________________________________________________________________= _____________=20

_____________________________________________________________________= _____________=20

NETWORKERS' NICHE & NEWSWORTHY=20 NOTES

If you want to make = contact=20 with other people in the industry and/or put a message relating to = music=20 and songwriting in this section, please contact me at: = subscribetokis@dmn.com.au

(Please remember that if necessary, we have the right = to vet as=20 well edit these messages and that the philosophy of these = sites/artists=20 does not necessarily reflect that of K.I.S.!) =

_________________________________=20

GREAT=20 AMERICAN SONG CONTEST - Attention all songwriters, composers, = bands,=20 artists, lyricists - last chance to enter!   Entries = accepted if=20 post marked November 14, latest.

The Great American Song = Contest is a highly = recommended=20 songwriting event sponsored annually by Songwriters Resource=20 Network, a free online news = and=20 information resource for songwriters and lyricists everywhere. =

Contest HIGHLIGHTS include;  More winners - More=20 Awards!   Top Music Industry Judges!  Low entry = fees.

Win a grand prize of over US $50,000 in cash & = merchandise. =20 Winners' will be determined by top Music Industry = Professionals. =20 Enter in 15 different categories - pop, rock, R&B and many=20 more... Open to = all,=20 regardless of nationality.

Judges include Walt Disney Music Publishing, Sony Music, = Tommy Boy=20 Records, Warner/Reprise etc. 

3D"Geat

Visit http://www.GreatAmericanSong.com for more = details.

_________________________________

OTHER INTERNATIONAL SONG=20 = CONTESTS:          &nbs= p;            = ;            =             &= nbsp;           &n= bsp;           &nb= sp;           &nbs= p;        =20 Visit out the=20 International Songwriters' Association (ISA) by CLICKING=20 HERE for details and=20 information.

_________________________________=20

Australian Music Biz = changes=20 address
Hi, Just a = quick note to=20 let you know that Australian Music Biz has moved to a bigger = office and=20 has new contact details listed below. E-mail and mobile (0412 321 = 368)=20 stays the same, however there is a new phone number and postal = address.=20 The address will be redirected for a short time, but please update = your=20 records.

Cheers, Stephen

Australian = Music=20 Biz
PO Box 30
Chermside South Qld 4032

Ph: +61 7 3861 = 4534;   Web Address: =20 www.ausmusicbiz.com

_______________________________________________

Songwriter requests=20 = help:           &n= bsp;           &nb= sp;           &nbs= p;            = ;            =             &= nbsp;           &n= bsp;           &nb= sp;           &nbs= p;            = ;           =20 Hi, I am looking for somewhere to send my songs I = have=20 written.  Maybe for singers/groups etc.          =             &= nbsp;   =20 Thanks,  Anita Kavalinovich.   Email:=20 akavalinovich@hotmail.com

_______________________________________________

Notice from Danny = Arena &=20 Sara Light:

Hi everyone,
Hope everyone is well. We just wanted = to let=20 you know about a couple items that may be of interest to = you.

1) I=20 know we keep saying this :-), but we are indeed making great = progress on=20 our online songwriting courses. We now have several of our = songwriting=20 educator friends also developing courses for this new site and we = hope to=20 have it up and running SOON.  Sorry it's taking so long, but = we want=20 to develop something that will be extremely helpful and cool for = everyone.=20

If you have ideas of subjects you'd like to see included = in our=20 online courses, please email us those suggestions.

2) The = following=20 seminar might be of interest to you: The Soul of a Writer - LIVE, = A=20 Songwriters Seminar Hosted by Susan Tucker, Author of The Soul of = a=20 Writer, Intimate Interviews With Successful Songwriters.  = November 10=20 - Music Row Area, Nashville, Tennessee. 
For more = information or=20 to sign up, visit www.journeypublishing.com or call = (US) 1- 800-=20 776- 4231 Access Code 11

Best wishes,

Danny = Arena/Sara=20 Light
The Songwriting Education Resource
www.craftofsongwriting.com

_______________________________________________

WEB SITES =

New Sites:=20

  • JOHN=20 BRAHENY - = For music=20 creators and information on the Craft and Business of = Songwriting - John=20 is currently doing a seminar tour of US cities.  Check his = site for=20 details.

Artist Sites:=20

  • GUS=20 McKAY=20 - For grass roots = country,=20 folk and alternative blues=20
  • CARMEL=20 MORRIS - = Talented=20 musician composer, author & 3D artist=20
  • WHITE=20 DIAMOND = - = For their=20 story and experience with the music industry

 

_____________________________________________________________________= _____________=20

_____________________________________________________________________= _____________=20

RESOURCES ON THE NET=20

______________________________________________________=20

For more useful = resources check=20 out the LINKS page = at Kismana=20 Music

_____________________________________________________________________= _____________=20

_____________________________________________________________________= _____________=20

LOCAL=20 HAPPENINGS - AUSTRALIA

5th NATIONAL ENTERTAINMENT INDUSTRY CONFERENCE REPORT =

A=20 conference on the The Technology Art & Business of Music was = held on=20 August 2, 3 & 4 2001 at Sydney SuperDome

Music industry = publisher and conference producer IMMEDIA! combined a three day = music and=20 entertainment industry conference in Sydney.  The final day's = proceedings was followed by the third annual Australian Online = Music=20 Awards (ONYA! Awards) that was webcast globally.

The = conference=20 featured over 50 Australian and overseas speakers and was a = combination=20 and extension of IMMEDIA!'s previous successful events - The = National=20 Entertainment Industry Conference (held in odd years) and the = Music &=20 Entertainment Media Online Conference which debuted in August=20 2000.

To read my report summarising the conference = CLICK=20 HERE

_________________________________=20

Australian College of Entertainment's = International=20 Performing Arts Conference is being held in Sydney Australia, July = 14 to=20 21, 2002

We are inviting you and your students to be part of this = exciting=20 international event in Sydney Australia Website: http://ace.org.au/ace/conference2002

The = conference is open to=20 dance, acting & vocal students from 10 years to 21 years of = age.=20 Students can enrol individually or as part of a group from a = school,=20 college or private coach.

ACE International Performing Arts = Conference Sydney 2002 brings together the finest young performers = (10 to=20 21 years) from all over the world to exchange ideas and share = their love=20 of
performance - on and off the stage.

We gather Top=20 Professionals and Master Teachers from the Entertainment Industry = and Arts=20 Community to share their time and expertise.

Our goal is = to pack a=20 week with the perfect combination of learning, performing, = opportunities=20 to share with other students from around the world, fun and = sightseeing.=20

Class emphasis will be on performance and will integrate - = Dance=20 (Flamenco, Jazz, Tap, Ballet, Contemporary, Lyrical & Funk), = Acting,=20 Singing, Choreography, Auditioning, Modelling, Acrobatics, Musical = Theatre, Television, Film, Musicology, Make-up and the production = aspects=20 that make them work.

Our staff will manage all the = accommodation,=20 transfers, meals, tickets and schedules. Meals will begin at = dinner on=20 Sunday night and conclude at the following Sunday morning = breakfast.=20

Parents are welcome as observers and an exciting program = of events=20 will be availablefor non-performers as well as eachers / = Directors. We=20 take care of all the details so you and
your Students / = Children can=20 concentrate on learning, performing
and having a great time!=20

 

_____________________________________________________________________= _____________=20

CONTRIBUTIONS

Finally, if you would = like to=20 contribute to this newsletter by writing an article, please feel = free to=20 contact me.

Thanks all and until next time...keep writing!

Regards

Connie Kis

_____________________________________________________________________= ____________

If anyone receiving = a=20 forwarded copy of this newsletter is interested in future = newsletters,=20 please subscribe by clicking on the following link and typing = 'subscribe'=20 in the message box:

subscribetokis@dmn.com.au

PRIVACY POLICY:

I will never abuse the privilege of having you as a subscriber. = I will=20 not give out your email address to anyone unless I first seek and = gain=20 permission from you.

_____________________________________________________________________= ____________

Kismana Music
Supporting = Songwriters and=20 Independent Artists.

Web Site: = http://www.kismana.com.au

for Songwriting Resources, CD releases from Independent = Australian=20 Artists and MP3 samples of their work.

_____________________________________________________________________= ____________

PO Box = 1254
Bentley DC=20 6983
Western Australia

Ph/Fax: + 61 - 8 - 9367 9340

Email: info@kismana.com.au

_____________________________________________________________________= ____________

If you=20 don't wish to be sent any future newsletters, please just = click on=20 the link below with 'remove' in the subject box. Thank you.

PLEASE = also = indicate=20 which email = address/es=20 you wish to have=20 removed!

removefromkis@dmn.com.au

 

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